Life after Harry: creating a reader's advisory model based on the literary archetypes of J.K. Rowling's Harry Potter series

Transcription

1 Rowan University Rowan Digital Works Theses and Dissertations Life after Harry: creating a reader's advisory model based on the literary archetypes of J.K. Rowling's Harry Potter series Patricia C. Hatton Rowan University Let us know how access to this document benefits you - share your thoughts on our feedback form. Follow this and additional works at: Part of the Library and Information Science Commons Recommended Citation Hatton, Patricia C., "Life after Harry: creating a reader's advisory model based on the literary archetypes of J.K. Rowling's Harry Potter series" (2007). Theses and Dissertations This Thesis is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact LibraryTheses@rowan.edu.

2 LIFE AFTER HARRY: CREATING A READER'S ADVISORY MODEL BASED ON THE LITERARY ARCHETYPES OF J. K. ROWLING'S HARRYPOTTER SERIES by Patricia C. Hatton A Thesis Submitted in partial fulfillment of the requirements of the Master of Arts Degree of The Graduate School at Rowan University May 10, 2007 Approved by Advisor Date Approved 10, z o0' Patricia C. Hatton

3 ABSTRACT Patricia C. Hatton LIFE AFTER HARRY: CREATING A READER'S ADVISORY MODEL BASED ON THE LITERARY ARCHETYPES OF J. K. ROWLING'S HARRYPOTTER SERIES 2006/07 Dr. Marilyn L. Shontz Master of Arts in School and Public Librarianship The purpose of this study was to develop and test a method of Reader's Advisory based on archetypal character analysis in place of genre, author, or mood advisory. The study used J. K. Rowling's popular Harry Potter fiction series as a base for developing this strategy. After identifying four character archetypes in the Harry Potter series, the researcher consulted Bowker's Fiction Connection database to find other award winning young adult fiction that contained at least two of the archetypes identified in the Harry Potter series. Upon identifying ten novels that fit the criteria, the researcher read and analyzed each of the novels to see if they did, indeed, contain archetypes similar to ones found in the Rowling series. Of the ten young adult novels, eight were found to meet the established criteria.

4 ACKNOWLEDGEMENTS The author wishes her sincere thanks and gratitude to Dr. Marilyn Shontz for her attention, guidance, and insight during the preparation of this thesis and for her patience and encouragement in finding "the perfect topic." In addition, the author thanks her husband, Jeremiah, whose unending love and tolerance has allowed her to skip the dishes, the laundry, and the cooking to curl up in a warm chair to read books meant for teens, and her parents, Jane & Mike, who never took away the flashlight before midnight. The author also cites the passion of two students, Ian and Jessica, whose own love of Harry makes July 2007 both exciting and bittersweet. And finally, the author acknowledges the impact of CRR, whose influence prompted her to get to know Harry so well.

5 CHAPTER TABLE OF CONTENTS PAGE LIST OF TABLES... vi I INTRODUCTION... 1 Research Problem... 1 Purpose of the Study... 2 Definition of Terms... 3 References... 5 II LITERATURE REVIEW... 6 The Changing Face of Reader's Advisory Services... 6 Current Trends in Reader's Advisory... 9 Conclusions References III METHODOLOGY AND OBJECTIVES Archetypal Selection The Innocent Embarking on a Journey and Orphan The Sage or Guardian The Friend The Sorcerer The Villain Model Selection References... 31

6 IV ANALYSIS OF DATA Inkheart The Naming The Witch's Boy The Golden Compass The Lion, the Witch, and the Wardrobe The Folk Keeper The Hollow Kingdom The Thief Lord The Ropemaker The Hobbit References V ANALYSIS AND INTERPRETATION Summary Conclusions Recommendations REFERENCE LIST...49 APPENDIX READER'S ADVISORY LIST... 52

7 LIST OF TABLES PAGE Table 1 Acceptable Synonyms for Character Archetypes Table 2 List of Titles... 35

8 CHAPTER I INTRODUCTION Research Problem Literary archetypes are considered by many scholars to be the staple of characterization in young adult novels. Drawing from Carl Jung's view that archetypes are images and motifs that are drawn from our collective unconsciousness, literary archetypes are often the original model after which others are patterned. Young adults are drawn to certain archetypal characters as they read, and can identify the patterns of behavior unconsciously--even sometimes without realizing it. Today's young adult librarians are sometimes disheartened with the lackluster approach young adults take to choosing literature. Closing their eyes and blindly reaching for the novel with the brightest colors, fewest pages, or nearest location often leads to a disinterest in reading. However, many librarians have also experienced the exhilaration that young adults feel when lost in a series of books that engage and interest them. Since 1997, millions of young adults have been caught in the momentum of the Harry Potter series by J. K. Rowling. Book stores and libraries alike have reported increased sales and circulation. Mainstream media has climbed on board with the release of the motion pictures and commercialization campaigns as well. But July 2007 will mark the end of Harry Potter. With the seventh and final book's release fast approaching, it is imperative that young adult librarians prepare for the wave of readers who have spent the

9 last nine years "filling time" between installments and who will be searching for new characters to love and with which to make friends. But how can librarians accurately recommend works that students will respond to and enjoy? The process of creating a Reader's Advisory program among young adults has long perplexed librarians. However, the sensational popularity of the Harry Potter series is due in part to the lifelike and round characters that Rowling has created. Likewise, a recommended reading program based on Harry Potter could be created by recognizing the archetypal characters within the novels that readers identify with and then recommending books that utilize similar archetypal characters. Purpose of the Study The purpose of this study was to develop a reader's advisory model based on character archetypes rather than plot elements or author identification. Assuming that many readers enjoyed a work because they identified with a character in which they recognize a part of themselves, it was reasonable to assume that young adults would enjoy works with similar characters. For example, if a student identified with the character playing the orphan archetypal role in a novel, librarians could recommend other books with an orphan archetypal character. To test the feasibility of such a reading advisory strategy, the researcher wanted to use a popular novel or novel series as the basis for the model list. Recently, the Harry Potter series had developed a huge youth following. Therefore, the researcher identified archetypal characters that J. K. Rowling used in the Harry Potter series and then located similar archetypal characters in other young adult novels. Once identified, these novels were grouped together to help create a list of novels that librarians could use as 2

10 recommendations for readers who enjoyed the popular series and who are looking for additional works to devour. There were, however, limitations to such a study. The immediate question that comes to mind is "How do you find other archetypal characters? " This question is valid as it is unlikely that any librarian has time to search through an infinite number of novels. To this end, the following procedures were used. After identifying four selected archetypal characters in the selected series, Harry Potter, the researcher searched Bowker's Fiction Connection database for novels with similar archetypes. Next, the summaries of novels appearing on the list were subjected to a search for key word synonyms. Finally, the novels were read and archetypal characters were identified. Those with archetypal characters meeting the criteria made the final recommendation list. Definition of Terms For the purposes of this study, the following definitions were used: * Archetypal characters were defined broadly as stock characters that embody images related to the "deepest and most permanent aspects of people's lives." Popular literary archetypes include the innocent embarking on a journey, the seeker, the orphan, the caregiver, the sage, the friend, the lover, the villain, the ruler, the fool, or the magician (Donelson & Nielson, 2005). Harmon & Holman (1996) defined archetypal characters as "a character type that occurs frequently in literature, myth, religion, or folklore and is, therefore, believed to evoke profound emotions because it touches the unconscious memory and thus calls into play illogical but strong responses" (p. 39). 3

11 * Young adults are defined as anyone between the ages of approximately 12 to 18 and young adult literature is defined as anything that readers between those ages choose to read (Donelson & Nielson, 2005). * Reader 's Advisory (RA) is a public service initiative where the librarian guides a patron in selecting new reading material. In this study, reader 's guidance is used interchangeably with reader 's advisory.

12 References Cohen, S. M. (2006, March/April). The next big "library thing". Public Libraries, 45(2), Donelson, K. L., & Nilsen, A. P. (2005). Literature for today's young adults. New York: Pearson. Harmon, W., & Holman, C.H. (1996). A handbook to literature ( 7 th ed.). New York: Prentice Hall. Kuzyk, R. (2006, February). A reader at every shelf: New tech tools and library innovations take patrons well beyond the bestsellers. Library Journal, 131(3), May, A. K., Olesh, E., Miltenberg, A. W., & Lackner, C. P. (2000, September). A look at reader's advisory services. Library Journal, 125(15), Ross, C. S., & Chelton, M. K. (2001, February). Reader's advisory: Matching mood and material. Library Journal, 126(2), Sturm, B. W. (2003, December). Reader's advisory and bibliotherapy: Helping or healing? Journal of Educational Media & Library Services, 41(2), Tenopir, C. (2006, September). Readers who like this book. Library Journal, 131(14), 29.

13 CHAPTER II LITERATURE REVIEW The Changing Face of Reader's Advisory Services The importance placed on Reader's Advisory (RA) has changed as the service has spanned and developed during the past three centuries. And although most library professionals would agree with Sturm (2003) that RA is defined as the art of "helping library patrons find books to read based on their prior reading preferences," few professionals agree on how it should be done. Crowley (2005) reviewed the history of RA beginning in 1834 when a public library came into existence in Peterborough, New Hampshire. While no one can quite pinpoint when RA services became more formalized, Crowley credited the practitioners working during as being the originators of the movement. However, the emphasis placed and motivations for RA since that time period have changed time and time again. From 1920 to 1940, librarians often recommended only non-fiction books in an effort to promote their educational merit in a post World War I era (Crowley, 2005). During this time period, Crowley related, full time RA positions became available in many public libraries and the ALA, in conjunction with the Carnegie Corporation, promoted the Reading with a Purpose program which publicized "sixtyseven bibliographic essays on subjects as diverse as the sciences, the life of Christ, contemporary Europe, and African-Americans in the United States" (p. 39). These essays were used by patrons to gather recommendations for further reading until 6

14 professionals discovered that these non-personal and overwhelming topical lists did not attract individual patrons. Crowley (2005) categorized RA services from 1940 to 1984 as lost or nonexistent. As the philosophy of the country changed, libraries found themselves trying to maintain an image of professionalism that aided educational goals and community edification. Recreational reading was considered a waste of time; therefore, programs that encouraged recreation were dismissed. Chelton & Smith (2000) came to the same conclusion when they argued that "every generation of librarians defines for itself and its users what needs the profession views as important and what needs it will address. For the last few decades, librarianship has focused on meeting the information needs of its users" (p. 136). Chelton & Smith went on to cite rapidly developing technology as "accelerat[ing] and empahsiz[ing] this focus" (p. 136). With this focus so clearly defined before library professionals, it is no wonder that many fiction readers felt embarrassed to bother the reference desk with a question as simple as "Could you help me find a beach book?" It was not until 1984 that today's fervor for RA services reemerged. With the introduction of reading clubs and research proving the benefits of recreational reading, libraries began embracing the idea of discovering the perfect RA system to benefit their patrons. Chelton & Smith, however, argued that even today fiction was not given the proper level of appreciation in libraries. One example used to support this claim was the lack of any national fiction circulation statistics. Instead, researchers like Chelton must depend on state findings to represent national statistics. Shearer's (1998) study in North Carolina found that "fiction constitutes 67% of all circulation in North Carolina libraries" 7

15 (p. 114) and was being used as a baseline representation for the United States. In addition, every article written about RA services resoundingly stated the same pointbecause of the disconnect with fiction-reading patrons for so long, there were not nearly enough resources, references, or information available to help the patron. Bookstores like Barnes & Noble, Borders, and even Amazon.com were farther along with their RA programs than the average school or public library. Shearer (1998) even contended that Blockbuster did a better job with advising. My video rental store staff spends more time and energy on advisory service than any public library I have worked in or used on a regular basis. They also provide guides to films in a book format and a computerized guide to films. They always carefully classify films in appropriate, popular genres... The successful strategies of these stores should be adapted for libraries' print and nonprint based services. (p. 115) It is blatantly obvious that the profession is feeling the need to "catch up" in this area. Recent trends to redesign public libraries to look more welcoming and trendy so as to compete with local bookstores have a direct link to the need to develop keener RA strategies. Chelton & Smith, however, held great hope for the future role of RA in the public library arena. As more and more library users turn to the Internet instead of the library to meet their informational needs, library administrators and staff are seeking areas in which the library can excel. They are looking for niche areas in which the public library can retain and expand its presence. Service to

16 fiction readers is one area in which many libraries feel they have the potential to excel. The question that keeps haunting many of these institutions is "how?" (p. 136) The question of how to best offer patrons RA services continues to develop as different models are introduced, studied, dismissed, reinvented, reintroduced, restudied, and re-dismissed. By reviewing the current trends in today's RA services, a better model from which to begin may be created. Current Trends in Reader's Advisory The best way to summarize RA services today is to say that there are no rules or standards set in stone. Because the service is still being developed, there are numerous ideas all being put into practice. Still, three model types stand out as the norm in today's libraries. Interview Models Based on the strategies universally accepted as the techniques to manage a reference interview, many libraries utilize a tweaked form of the reference interview as the mainstay of their RA services. And while the reference interview does serve as a starting point, there are many differences between the two. For example, in reader's advisory transactions, the librarian is serving as an advisor, not an expert. There is no one right answer and therefore librarians must identify several different title possibilities for the reader. Shearer commended Duncan Smith for identifying the following steps to a reader's advisory transaction in Librarians Abilities to Recognize Reading Taste (1996): 1. The advisor must elicit information about the reader's interests.

17 2. The advisor must look for the similarities and links between titles and not just their uniqueness. 3. The advisor must be able to establish links between titles based on both the reader's interests and on the advisor's knowledge of titles and reader's advisory resources. 4. The advisor must be able to present identified titles and communicate how each title relates to the reader's interests. (p. 114) In this model, librarian-advisors practice active listening as they probe into the reader's likes and dislikes by asking questions such as, "What was the last title that you read and liked?" and "What did you like about it?" Shearer (1998) quoted Joyce Saricks categorization of RA interviews as "conversations about books that may lead to suggestions for further reading" (p. 115). Shearer went on to note that, oftentimes, these interviews were "opportunit[ies] for the reader to express feelings about current reading" and the strategy "acknowledges the importance of talking with a sympathetic listener about books that have been read" (p. 115). Unfortunately, most field research showed that library professionals were not administering successful RA interviews. The results of May, Olesh, Miltenberg, and Lackner's research (2000) found that most professionals could not adequately conduct a reader's guidance interview. Staff members were often reluctant or ill-prepared to take on the responsibility of reading guidance. Formal RA interviews were not conducted--rather, selected questions were posed to elicit the reading tastes of advisees. The RA interchange

18 was not an in-depth process. Follow up was rarely offered, and patrons were seldom invited back to discuss the titles suggested. (p. 43) Chelton's 2003 article Reader's Advisory 101 also commented on the common mistakes found in RA interviews. Like May, et al. (2000), Chelton found that most librarians did not practice active listening skills like asking open ended questions and keeping eye contact, and instead, they used "the OPAC as a crutch to keep the hands busy and the eyes away from the user when the brain stops" (p. 38). Another common mistake made by librarians was that they only suggested material that he or she had read and liked. Chelton uses the analogy of a reference librarian to show how ludicrous this was. There's a joke that says that the best reference librarian is supposed to be someone who knows nothing but can find anything. The same is true of reader's advisors. It is unacceptable to tell a user that one has not personally had breast cancer or started a business and therefore cannot or may not be able to help find information on these topics. However, such responses seem to be the norm when the same librarians are asked about books. One of the biggest myths is that a librarian must have read a book to suggest it, without resorting to any reference sources. Excusing one's own ignorance is not the same as answering a question, nor is it professional. (p ) May, et al. (2000) addressed this mistake by re-emphasizing the need for librarians to consult reader's advisory reference sources just as they would to answer a reference question. In their study, however, they found that only 46% of approached librarians utilized any tool at all to assist patrons (p. 41). Unfortunately, many of those 11

19 advisors looked no further than their OPAC for suggestions. Because the number of subheadings for fiction novels tends to be absurdly lower than non-fiction, this fails to be the only tool a librarian-advisor needed to help guide patrons. Sadly, only 6% of librarians checked references such as NoveList, NY Times Book Review, Genreflecting, or What do I Read Next? (p. 41). Also, 72% of librarians spent less than 10 minutes with a patron. The researchers concluded that "library staff dread patron requests for assistance in finding fiction to read" (p. 42). However universal the RA interview may be becoming, it is apparent that there is still work to be done. Still, there is no end to the suggestions for what to do once the information is obtained. Assuming that the interview went well, and assuming that the reader knew why he or she liked certain titles, several choices still lay ahead for a librarian advisor. Ross & Chelton (2001) gathered information for fifteen years from avid readers to develop their list of five ways that avid readers choose a book for pleasure. They argued that any RA program should be designed to help readers with questions develop these same five traits within their own browsing behavior. 1. Responding to the reading experience wanted 2. Responding to the need for sources about new books 3. Responding to the elements of a book 4. Responding to the clues on the book itself 5. Responding to the cost in time or money Ross & Chelton contended that while the statement suggested by Saricks and Brown (1997), "Tell me about a book that you've read and enjoyed," was important, it was also misleading. Instead, they suggested in their first trait to discover what type of 12

20 mood the reader was in and what type of experience they were looking for. Simply put, they warned against putting readers into boxes by only suggesting to them books with so many similarities they were hard to tell apart. Instead, they suggested that "an appeal to emotion and mood... allows for groupings across genres for readers when mood trumps genre" (p. 54). Appeal factors other than mood, however, were suggested by different scholars. Chelton (2003) listed appeal factors such as a "book's pacing, characterization, story line, and time frame" as different ways for analyzing new titles for patrons (p. 38). Other factors mentioned in research included setting, language and genre. In Chelton & Smith's (2000) study, participants felt that "advisors need to realize that a book's appeal characteristics may or may not include those characteristics that are frequently referred to as literary" and that advisors should "engage in a constant process of identifying characteristics shared among readers" (p. 139). Thus, even within the interview model, there are improvements to be made and different points of view over which elements and characteristics are to be attended to. Passive Advisory Models Passive advisory, defined by May, et al. (2000), as "the tools by which libraries assist users in selecting fiction without direct interaction between patron and librarian" (p. 42) was definitely the most utilized model for Reader's Advisory. Perhaps because most libraries do not have the budget to staff a full time RA specialist, or because the majority of approachable people on the library staff are paraprofessionals, both school and public libraries often utilize a variety of methods to assist readers in their choice. Genre Shelving

21 Although its very suggestion can offend a classification specialist, shelving by genre is quickly becoming one of the top suggestions by RA specialists. Moyer (2005) clearly indicated that Harrell's argument in Use of Fiction Categories that "arranging fiction by categories is one of the easiest ways to guide patrons, especially in times of tight budget when there is not enough time to conduct a reader's advisory interview with every patron" was valid (p. 221). The idea of reorganizing an entire collection seemed a little harsh however, until results like a 36% increase in fiction circulation were reported. Then, "genrefication," as it is known, seemed a little more interesting. Moyer argued that until "OPACs, electronic reader's advisory tools, and fiction classification schemes have been developed to the point that readers are able to 'browse' genres electronically," genrefication might be the answer (p. 221). In 2006, the idea of electronic genre browsing was brought to fruition when The Reader's Advisory Online (RAO) database became available as a "Genreflecting" tool (Tenopir, 2006, p. 131). The May, et al., study (2000) showed that 89% of the libraries they visited utilized genre shelving. Allowing patrons to browse by genre, whether on the shelf or electronically, seems to be making its way to the forefront as a passive RA technique. Lists May, et al.'s, study (2000) showed that 57% of the visited libraries displayed some type of list to help patrons select books. Lists were as simple to compile as the New York Times Best Seller List to a more localized version such as which books were recommended by local staff members (Nottingham, 2002). Other libraries compiled lists based on well-known readers in their community's preferences or famous actors top

22 picks. Finally, Ross & Chelton (2001) contended that lists should be developed that reflect emotional content such as "Bloodless Mysteries" or "Bittersweet Romances." Displays An alternate type of RA strategy includes the age-old practice of creating good displays. Kuzyk (2006) reminded readers that "studies show that lit displays are looked at twice as many times and twice as long as unlit ones" (p. 34). Normally considered a merchandising strategy, purposeful displays can also serve as a passive way to encourage readers to choose their own fiction books. Nottingham's article (2002) pointed out that Recommended Title displays "equate to the bakery aroma at the grocery store" (p. 337). Similarly, many chain bookstores such as Barnes & Noble and Borders have also implemented this strategy. Social Networks & Blogs Another type of passive RA strategy is Internet based. Steven Cohen (2006) reported that Library Thing, a new type of user-based cataloging, "incorporates social interactions, book recommendations, self-classification, and monitoring of new books" (p. 33). The power to the people cataloging that it allows makes Library Thing "the ultimate social tool for readers. For those that like to receive book suggestions from others, LT is the place to not only get those recommendations, but to meet others with similar reading tastes as well" (p. 34). In addition to social networking, blogs are another up and coming device used by libraries to help patrons find new reading material. Kuzyk (2006) claimed that these free blogs can be used to "alert patrons to new materials, post lists of upcoming titles, and call

23 attention to undiscovered classics" (p. 33). In short, the maximum number of patrons is affected by a single entry. Book Groups Finally, book groups can serve as an excellent way to passively guide patrons. May, et al., (2000) found that only 20% of the libraries that they visited provided some sort of book discussion group, but many libraries implemented this tool with much success. Kuzyk (2006) reported on the success of a library that instituted a "Gab Bag" program where "multiple copies of literary titles were prepackaged into totes that can be checked out by group members for up to twice the standard three-week circulation period" (p. 34). Regularly, members met to discuss books from the gab bags. Form Based Models Because many libraries are striving to do more than passively guide and yet cannot dedicate the staff needed to run an interview RA model, many libraries have settled somewhere in the middle with a form based model. Hollands (2006) took the lead in this method of inquiry by first debunking some of the assumptions made when working solely with an interview system. He considered the following assumptions faulty: 1. Readers will approach librarians with RA questions. 2. The person approached with an RA question will be the right person for the job. 3. Enough information is obtained in an interview to provide good RA service. 4. Quality RA service is possible, given the time constraints of library encounters.

24 5. Resources needed by reader's advisors are easy to use in face-to-face discussion. 6. Face-to-face RA encounters are documented sufficiently to support follow up. (p ) Following this debunking, Hollands argued that the initial contact with readers should be form based. His form based Reader's Advisory plan had six steps. 1. Assembling and training an RA team 2. Designing a form 3. Delivering the form to readers 4. Receiving completed forms and routing them to the advisors 5. Responding to the forms 6. Documenting the transaction and following up (p ) Hollands' (2006) argument that "a form is a noninvasive way to use shared terminology to obtain a profile of new readers" (p. 211) is not without substantiation. Readers involved with this program at his library reported a 4.79 overall satisfaction out of 5. In addition, readers reported a 4.39 rated satisfaction level with the recommended books. Holland's library was not the only one that experimented with a form based approach. Nottingham's Ohio branch library also reported success with the strategy. The library "offers customers a personalized reading list with annotations" for every patron who fills out an inquiry sheet (p. 338). Forms were available at the fiction area and circulation desk and patrons received their personalized recommendations within a week.

25 Conclusions Despite the different options for Reader's Advisory services, libraries have realized that they need to be focusing on how to increase patron satisfaction with fiction titles. While no one model has become the subscribed to method, librarians are anxious to identify a model that can be used both quickly and realistically. Whether a model utilizes mood, genre, author, plot, or some other device as a base for recommendations, the field is still open for ideas on how to find books that patrons identify with.

26 References Booth, H. (2005, January/February). RA for YA: Tailoring the readers' advisory interview to the needs of the young adult patrons. Public Libraries, 44(1), Chelton, M. K. (1999, January/February). What we know and what we don't know about reading, readers, and readers advisory services. Public Libraries, 38(1), Chelton, M. K. (2003, November). Readers' advisory 101. Library Journal, 128(18), Chelton, M. K., & Smith, D. (2000, Winter). Talking with readers: A competency based approach to readers' advisory service. Reference & User Services Quarterly, 40(2), Cohen, S. M. (2006, March/April). The next big "library thing". Public Libraries, 45(2), Committees of RUSA. (2004, Summer). Recommended readers' advisory tools. Reference & Users Quarterly, 43(4), Crowley, B. (2005, January/February). Rediscovering the history of readers' advisory service. Public Libraries, 44(1), Donelson, K. L., & Nilsen, A. P. (2005). Literature for today's young adults. New York: Pearson. Hollands, N. (2006, Spring). Improving the model for interactive readers' advisory service. Reference & User Services Quarterly, 45(3), Kuzyk, R. (2006, February). A reader at every shelf: New tech tools and library innovations take patrons well beyond the bestsellers. Library Journal, 131(3), May, A. K., Olesh, E., Miltenberg, A. W., & Lackner, C. P. (2000, September). A look at reader's advisory services. Library Journal, 125(15), Moyer, J. E. (2005, Spring). Adult fiction reading: A literature review of readers' advisory services, adult fiction librarianship, and fiction readers. Reference & User Services Quarterly, 44(3), Nottingham, J. (2002, Summer). Doing it right: A readers' advisory program. Reference & User Services Quarterly, 41(4),

27 Ross, C. S., & Chelton, M. K. (2001, February). Reader's advisory: Matching mood and material. Library Journal, 126(2), Shearer, K. (1998, Fall). Readers' advisory services: New attention to a core business of the public library. North Carolina Libraries, 56(3), Sturm, B. W. (2003, December). Reader's advisory and bibliotherapy: Helping or healing? Journal of Educational Media & Library Services, 41(2), Tenopir, C. (2006, September). Readers who like this book. Library Journal, 131(14), 29.

28 CHAPTER III METHODOLOGY AND OBJECTIVES Archetypal Selection This study employed content analysis as its standard methodology. After identifying several archetypal character types that appeared in a popular young adult fiction title, a methodology was designed to choose additional young adult materials to analyze for similar archetypal characters. The popular fiction series, Harry Potter, by J. K. Rowling, was analyzed for character archetypes. The following five archetypes were identified using Donelson and Nilsen's Literature for Today's Young Adults- the innocent embarking on a journey, the sage, the friend, the sorcerer, and the villain. Each of the archetypes was foundational to the plot of the series and could be used to help identify other similar works of literature that patrons may want to read. The Innocent Embarking on a Journey and Orphan According to Donelson and Nilsen, the most archetypal of all story characters was the innocent embarking on a journey. J. K Rowling's series about a young boy named Harry Potter was based on this, the most common of archetypes. Harry could also be classified as fitting the archetypal role of orphan, and the direction of the series showed Harry's orphan status as a major contributing factor to his innocence and journey. Specifically, researchers Donelson and Nilsen said this about the innocent archetypal story,

29 It begins with a young person setting out either willingly or unwillingly... on a journey or quest and meeting frightening and terrible challenges. After proving his or her worth, the young person receives help from divine or unexpected sources. (p. 99) It is important to note that this archetypal analysis held strong when the researcher looked at individual plots within books in the series, as well as the series overall. For example, in the first novel, Harry Potter and the Sorcerer 's Stone, Harry willingly took on the task of protecting the stone from Voldemort. Likewise, in the second novel, he willingly risked his life to face the horrors within the Chamber of Secrets so as to rescue his best friend's sister. It was not until the fourth novel, Harry Potter and the Goblet of Fire that Harry took on a challenge against his will. Entered into the Tri-Wizard tournament without his knowledge, Voldemort manipulated conditions so as to try and end Harry's life. The fifth novel also showed Voldemort's manipulation when Harry unknowingly but willingly flew into a trap to rescue his godfather. Finally, in the sixth novel, Harry was once again in control of his own destiny. Upon coming to a full understanding of where Voldemort was drawing his power, Harry asked to accompany Dumbledore to destroy the Horcrux-despite the danger. These six independent stories, however, were just individual scenes in the larger picture. It is during the fifth and sixth books that it became clear how archetypal the character of Harry really was. The revelation of the prophecy in book five, Harry Potter and the Order of the Phoenix showed how clearly Harry was playing the role of the innocent embarking on a journey:

30 THE ONE WITH THE POWER TO VANQUISH THE DARK LORD APPROACHES... BORN TO THOSE WHO HAVE THRICE DEFIED HIM, BORN AS THE SEVENTH MONTH DIES...AND THE DARK LORD WILL MARK HIM AS HIS EQUAL, BUT HE WILL HAVE POWER THE DARK LORD KNOWS NOT... AND EITHER MUST DIE AT THE HANDS OF THE OTHER FOR NEITHER CAN LIVE WHILE THE OTHER SURVIVES... (p. 841). With this prophecy came the knowledge that Harry's life had been predestined since before he was born. The idea of playing a predestined role plainly showed the activities of the first four books in a different light. The prophecy leant credence to the idea that those activities were clearly designed to prepare him for his eventual role. Still, Dumbledore, in book six, Harry Potter and the Half-Blood Prince, tried to convince Harry that he was still in charge of his own destiny. When Harry questioned whether he really had any choice in whether to try and eliminate Voldemort, Dumbledore replied, "Of course you've got to! But not because of the prophecy! Because, you, yourself, will never rest a moment until you've tried!" It is the realization that Harry wanted to kill Voldemort that sets him free from the prophecy. Rowling wrapped the issue up with Harry's thoughts: But he understood at last what Dumbledore had been trying to tell him. It was, he thought, the difference between being dragged into the arena to face a battle to the death and walking into the arena with your head held high. Some people, perhaps, would say that there was little to choose between the two ways, but Dumbledore

31 knew-and so do I, thought Harry, with a rush of fierce pride, and so did my parents- that there was all the difference in the world. (p. 512) Regardless, however, of how willingly Harry took on the journey, it is clear that his entire life, including the death of his parents, had been preparing him for this final task of destroying Voldemort. There are additional requirements of 'the innocent' archetype that Harry met. Donelson and Nilsen note this: "A distinguishing feature of such romances is the happy ending achieved only after the hero's worth is proven through a crisis or an ordeal. Usually as part of the ordeal the hero must make a sacrifice, be wounded, or leave some part of his or her body, even if it is only sweat or tears. The real loss is that of innocence, but is it usually symbolized by a physical loss..." (p. 102) Harry's life journey had been marked with loss and sacrifice. Orphaned as an infant, Harry's first experience of loss was perhaps his most painful-the loss of his parents. In the first book of the series, Harry left behind his friends, Ron and Hermione, to travel into the last chamber alone. In the second book he was impaled by the serpent's tooth and was only saved by the phoenix's tears. Later, in the third book, he lost his godfather to society. In book four, however, the losses became more significant. Captured by Voldemort, Harry lost his blood to Wormtail which, in effect, helped Voldemort regain power. In the fifth and sixth books he suffered a crushing loss with the loss of Sirius and Dumbledore, his mentors and pseudo-parents. Finally, in the sixth book, Harry suffered an emotional loss when he ended his relationship with Ginny Wesley to protect her from being used by Voldemort and had to pay a "tribute of blood" to the archway protecting a 24

32 Horcrux (p. 578). Though substantial, these losses were only symbols of the innocence Harry had lost between the ages of eleven and sixteen. The Sage or Guardian Sages, Donelson and Nilsen noted, are known for giving spiritual, emotional, and intellectual care. Sages often question and lead the innocent archetypal figure. More importantly, they must be "wise enough to realize that people cannot search for just one truth, but instead must understand a multiplicity of truths" (p. 104). Psychological researchers, like Carl Jung and Joseph Campbell, referred to this archetype as the mentor. Without doubt, J. K. Rowling set up the character of Dumbledore as a mentor to young Harry throughout the series. From the first chapter of the first book to the last chapter of the sixth, Dumbledore guided Harry through the trials of growing up parentless. Throughout the novels, Dumbledore gave fatherly advice like, "It does not do well to dwell on dreams and forget to live" (p. 214). In Chamber of Secrets Harry called on Fawkes for help when showing great loyalty to Dumbledore (p. 332). Then, in Harry Potter and the Half Blood Prince, Dumbledore's death shook Harry to the core. Harry came to realize that the "people who cared about him had stood in front of him one by one, his mother, his father, his godfather, and finally Dumbledore, all determined to protect him" (p. 645). The death of Harry's sage, Dumbledore, served as the final loss of innocence that Harry must endure before facing Voldemort in book seven. The Friend Donelson and Nilsen noted that the archetypal image of friendship spans the generations starting with the story of friendship between Jonathon and David in the Old 25

33 Testament. Today, popular television shows like Friends show that the archetypal image is still ingrained in society. Perhaps prevalent because of the adolescents' intense need to be part of something bigger than themselves, J. K. Rowling also uses this archetypal image for two of the most central characters in the story. Ron Weasley and Hermione Granger fulfilled the friend archetype in the Harry Potter series. After fighting off the giant ogre in book one, the trio worked as a team to overcome evil time and time again. Whether it was facing the Ministry of Magic, school bullies, evil teachers, or Voldemort himself, the three teens were inseparable throughout the series. Of most interest, however, was the ending of book six in the series. As Harry was dealing with the loss of his mentor, Dumbledore, and his decision to leave behind his first love, Ginny, he decided to also abandon Ron and Hermione. "We'll be there Harry," said Ron. "What?" "At your aunt and uncle's house," said Ron. "And then we'll go with you wherever you are going." "No-" said Harry quickly; he had not counted on this, he had meant for them to understand that he was undertaking this most dangerous journey alone. "You said to us once before," said Hermione quietly, "that there was time to turn back if we wanted to. We've had time, haven't we?" "We're with you whatever happens," said Ron. (p. 651) Despite Harry's protests, he cannot help but to have appreciated the deep rooted friendship that was evident in his friends' decisions. The sixth novel closed with the thoughts of Harry about this archetypal friendship- 26

34 In spite of everything, in spite of the dark and twisting path he saw stretching ahead for himself, in spite of the final meeting with Voldemort he knew must come, whether in a month, in a year, or in ten, he felt his heart lift at the thought that there was still one more golden day of peace left to enjoy with Ron and Hermione. (p. 652) The Sorcerer Donelson and Nilsen also made reference to the archetype of magician, or sorcerer. Sorcerers, as identified by Donelson and Nielsen, "appear in stories of fantasy where authors create a make-believe world with no explanation of how the magic works" (p. 108). Often characters that lead, sorcerers can be found in single doses, or all over a work of fiction. In J. K. Rowling's series, Harry Potter, sorcery was found everywhere. In fact, only five main characters did not possess some sort of ability to work magic. Although there are sorcerers throughout the works, the roles of archetypal sorcerers that lead were played by the staff of Hogwarts School. The staff at Hogwarts, under the guardianship of Albus Dumbledore, practiced the noble art of teaching, and of passing their magical knowledge on to students. Professors like McGonagall, Snape, Flitwick, and Sprout taught lessons in transfiguration, potions, charms, and herbology, respectively. Each of these professors regarded their subject as an art, and held the students to high standards. On the first day of class in The Sorcerer 's Stone, Professor McGonagall delivered a warning to the class, "Transfiguration is some of the most complex and dangerous magic you will learn at Hogwarts... Anyone messing around in my class will leave and not come back. You have been warned" (p. 134).

35 In addition to setting high standards, most of the teachers possessed an intense passion for the magical subject that they taught. Professor Snape's introduction to the class in The Sorcerer 's Stone included the following speech, You are here to learn the subtle science and exact art of potion making... As there is little foolish wand-waving here, many of you will hardly believe this is magic. I don't expect you will really understand the beauty of the softly simmering cauldron with its shimmering fumes, the delicate power of liquids that creep through human veins, bewitching the mind, ensnaring the senses... I can teach you how to bottle fame, brew glory, even stopper death... (p ) Snape's speech demonstrated his intense love for his subject and his desire to pass on the information to willing and able pupils. As the students got older and continued to increase in their abilities, Snape continued to challenge them with complicated material. In their fifth year, students prepared to take O.W.L. exams, or Ordinary Wizarding Level exams. Snape reminded them that he "take[s] only the very best into" his N.E.W.T. Potions class for their sixth and seventh years. Finally, the staff at Hogwarts School of Witchcraft and Wizardry protected the students with their magic until the students were old enough to protect themselves. In The Sorcerer 's Stone, the staff of Hogwarts defended their students from a wayward troll. In The Chamber of Secrets and The Prisoner ofazkaban, the staff performed security sweeps and kept watch for uninvited intruders that wished the students harm. Finally, in The Order of the Phoenix and The Half-Blood Prince, staff members rushed off to the Ministry of Magic or to the Hogwarts castle hallways to battle the Death Eaters bent on killing students and staff alike. Because of these three elements-the staff's love of their 28

36 magical subject, the staff's ability to pass this magical subject on, and the staff's desire to protect their students- the staff of Hogwarts School of Witchcraft and Wizardry lead in a way that defined them as archetypal sorcerers. The Villain While the other mentioned archetypes are considered either protagonists or supporters of the protagonist, there was also an antagonistic archetypal character to be identified. Villains, as identified by Donelson and Nilsen, are strong characters "who will stand up and fight" (p. 106). Interestingly enough, the archetypal villain is only considered such because they choose to side with evil. The same character, siding with good, is considered to be an archetypal superhero or warrior. In J. K. Rowling's Harry Potter series, Voldemort was the archetypal villain. Known as "He-Who-Must-Not-Be- Named" by frightened wizards everywhere, Voldemort was feared for merciless murders as well as encouraging unbelievable torture. Even his appearance made him seem villainous. He was described as being "whiter than a skull, with wide, livid scarlet eyes and a nose that was flat as a snake's with slits for nostrils" in Goblet of Fire (p. 643). His intelligence and skill were not questioned, however. In the very first book, Ollivander, the famous wand maker, said of Voldemort, "He-Who-Must-Not-Be-Named did great things-terrible, yes, but great" (p. 85) and Professor Dumbledore acknowledged that "Voldemort [has] powers that [he] will never have" (p. 11). Still, with the knowledge that Voldemort had the opportunity to be a hero or warrior, it was his intention to remain alone and his desire for more power that corrupted him.

37 Model Selection It was the purpose of this study to create a reader's advisory model based on character archetypes. Of the five identified archetypes previously discussed four were selected to be used as a basis for recommending other fiction stories to students who name Harry Potter as their favorite series and who are looking for a new reading challenge. The fifth term, friend, was not used because it was too broad to find helpful synonyms that could help to narrow the choices. In order to identify other novels with similar archetypes, Bowker's Fiction Connection database was consulted. Beginning with the Harry Potter series, the researcher searched Bowker's for the archetypal words used by the database. Then, the researcher performed searches to identify other young adult novels that might have similar archetypal structure. After choosing ten novels, they were read and analyzed. Those findings are discussed in Chapter IV.

38 References Donelson, K. L., & Nilsen, A. P. (2005). Literature for today's young adults. New York: Pearson. Rowling, J. K. (1997). Harry Potter and the sorcerer's stone. New York: Scholastic. Rowling, J. K. (1999). Harry Potter and the chamber of secrets. New York: Scholastic. Rowling, J. K. (1999). Harry Potter and the prisoner ofazkaban. New York: Scholastic. Rowling, J. K. (2000). Harry Potter and the goblet offire. New York: Scholastic. Rowling, J. K. (2003). Harry Potter and the order of the phoenix. New York: Scholastic. Rowling, J. K. (2005). Harry Potter and the half blood prince. New York: Scholastic.

39 CHAPTER IV ANALYSIS OF DATA Librarians rarely have the time or desire to read every book in the library. Therefore, if character archetypes are to be used as the basis for a reading guidance program, it becomes imperative to develop a quick system for identifying the archetypal characters found within a novel. One valuable time saving tool could be Fiction Connection, an online fiction advisory tool provided by Bowker. For the purposes of this study, it was desirable to utilize Fiction Connection to view the summaries, awards won, main characters, and character traits associated with young adult novels published in the United States. The first step, after identifying four character archetypes in the Harry Potter series, was to log into Fiction Connection and search for the Harry Potter novels. Upon finding one, the entry was analyzed for the keywords the database was using to describe the four archetypes previously identified in Chapter III of this study. The following keywords were identified: orphan, evil, sorcerer, and guardian. Because these four words have many synonyms, a chart was created to list acceptable synonyms (see Table 1).